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dc.creatorREVERE, LINDA SANDERS
dc.date.accessioned 2007-05-09T19:31:05Z
dc.date.available 2007-05-09T19:31:05Z
dc.date.issued 1982
dc.identifier.urihttp://hdl.handle.net/1911/15717
dc.description.abstract Humanist literary scholars and teachers, implicated in but unaware of the metaphysics of presence grounding their method, have long practiced mediating the literary artwork, representing it as an organic, structured design of signs identical with certain ideas and correspondent mimetically with extra-linguistic reality. These rationalists spatialize the artwork, locking its signifiers into a teachable object or centered design so that the body of literature becomes a collection of objects, a body of texts spatializing voice and consciousness, quantified knowledge packaged and assigned meanings or truth. For phenomenologists like Heidegger and certain post-structuralists, the textuality of the work is an ontological mood or moods, a Befindlichkeit or openness to being in-the-world, a special thrownness with certain possibilities for self-actualizing within that world of the artwork. Signifiers, linguistic things in the phenomenological sense, are specially measured and related to one another for Dasein to interpret as limitations and possibilities, horizons for being. The phenomenological post-modern imagination is hermeneutical, assigning the reader to explore the mood working in the world of the work. Post-modernists espouse a violent hermeneutical discourse, a re-opening of the site of the traditionalist historical sedimentation, a freeplay of criticism so that the artworks are not seen as objects enduring through time with certain inviolable truths or interpretations but rather as human worlds or experiences for that can be interpreted endlessly without closure by all cultures and societies. Paradise Regained is such a decentered text, a poem that questions itself as other than a supplement to the Biblical Word. It is marked by a complementarity, a measuring and metonymy of differences traced in the trackless desert, the groundless ground of the desert where Satan tempts Christ to despair or be saved with self-wrought miracles. The Word as Sign is under attack in Paradise Regained, parodied and supplemented, dismantled and remarked in the play of differing interpretations given the world brought forth in it. . . . (Author's abstract exceeds stipulated maximum length. Discontinued here with permission of school.) UMI
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subjectEnglish literature
dc.title DECONSTRUCTING SATAN: THE HERMENEUTICS OF MILTON'S "PARADISE REGAINED"
dc.type.genre Thesis
dc.type.material Text
thesis.degree.department English
thesis.degree.discipline Humanities
thesis.degree.grantor Rice University
thesis.degree.level Doctoral
thesis.degree.name Doctor of Philosophy
dc.identifier.citation REVERE, LINDA SANDERS. "DECONSTRUCTING SATAN: THE HERMENEUTICS OF MILTON'S "PARADISE REGAINED"." (1982) Diss., Rice University. http://hdl.handle.net/1911/15717.


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